This thesis studies in depth the complex meaning of the term projection which has been taking upon itself, during the history of the western representation, new tones and declinations. Starting with the geometric context of the term, this research traces a historical excursus on the concept of projection as related to the different disciplines of knowledge, with a particular attention towards geometry and optics, but also towards the philosophical and religious field. Always bearing in mind that its employment preceded the earliest essays and scientific abridged editions, thanks to the researches and discoveries by Desargues, Monge, Poncelet, we come to the complete and full codification of the concept of projection/section which today, in the contemporary era, finds some meaningful applications in art. Gabriella Liva discovers and notices analogies of approach among two apparently distant worlds, that of contemporary art and that of the descriptive and projective geometry, especially focusing on some key-figures that base their art on the use of light as a mean of artistic creation, on the employment of films to generate the performative event, and above all on the sensory and perceptive involvement related to it; optics and geometry, in the projective seduction, live again and take on new meanings in the works of artists of the past century and of today such as Turrell, McCall, Eliasson, Chan, but also in those of less known artists, who have made their own and interpreted the concept of projection, reopening the debate on the meaning of the intimate connection which exists between object and image.
La tesi approfondisce il complesso significato del termine proiezione che ha assunto, nel corso della storia della rappresentazione occidentale, nuove sfumature e declinazioni. Partendo dal contesto geometrico del termine, la tesi prevede un excursus storico sul concetto di proiezione, legato alle diverse discipline del sapere, con particolare attenzione alla geometria e all¿ottica, ma anche all'ambito filosofico e religioso. Tenendo sempre presente che il suo utilizzo fosse precedente ai primi trattati e compendi scientifici, grazie alle ricerche e scoperte di Desargues, Monge, Poncelet, si giunge alla completa codificazione del concetto di proiezione/sezione che tutt¿oggi, nell¿era contemporanea, ha delle applicazioni significative sull¿arte. Gabriella Liva scopre e rileva analogie di approccio fra due mondi apparentemente distanti, quello dell¿arte contemporanea e quello della geometria descrittiva e proiettiva, soprattutto concentrandosi su alcune figure chiave che basano la loro arte sull'uso della luce come mezzo di creazione artistica, sull¿impiego di filmati per generare l¿evento performativo e soprattutto sul coinvolgimento sensoriale e percettivo ad esso connesso; ottica e geometria, nelle seduzione proiettiva, rivivono e acquistano nuovi significati nelle opere di artisti del secolo scorso e di quello attuale come Turrell, McCall, Eliasson, Chan, ma anche artisti meno conosciuti, che hanno fatto proprio e interpretato il concetto di proiezione riaprendo il dibattito sul significato dell¿intimo legame esistente tra oggetto e immagine.
L'invenzione proiettiva: logica geometrica e creazione artistica nella rappresentazione architettonica / Liva, Gabriella. - (2011 Dec 05).
L'invenzione proiettiva: logica geometrica e creazione artistica nella rappresentazione architettonica.
LIVA, GABRIELLA
2011-12-05
Abstract
This thesis studies in depth the complex meaning of the term projection which has been taking upon itself, during the history of the western representation, new tones and declinations. Starting with the geometric context of the term, this research traces a historical excursus on the concept of projection as related to the different disciplines of knowledge, with a particular attention towards geometry and optics, but also towards the philosophical and religious field. Always bearing in mind that its employment preceded the earliest essays and scientific abridged editions, thanks to the researches and discoveries by Desargues, Monge, Poncelet, we come to the complete and full codification of the concept of projection/section which today, in the contemporary era, finds some meaningful applications in art. Gabriella Liva discovers and notices analogies of approach among two apparently distant worlds, that of contemporary art and that of the descriptive and projective geometry, especially focusing on some key-figures that base their art on the use of light as a mean of artistic creation, on the employment of films to generate the performative event, and above all on the sensory and perceptive involvement related to it; optics and geometry, in the projective seduction, live again and take on new meanings in the works of artists of the past century and of today such as Turrell, McCall, Eliasson, Chan, but also in those of less known artists, who have made their own and interpreted the concept of projection, reopening the debate on the meaning of the intimate connection which exists between object and image.File | Dimensione | Formato | |
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